Links to Local Programs & Independent Organizations
That may interest you:
=================================
Burlington Public Library (BPL):
Burlington Public Library Programs & Events:
=================================
Burlington Arts Centre (BAC):
Click on "Studio Classes" to open a file listing current classes.
Register for classes & programs by calling (905) 632-7796, ext.307 for more information.
=================================
2010 Creative Writing Workshops (locally advertised):
*Note: Many students and parents have expressed their curiousity about local opportunities for young adults, focussing on arts & culture, creative writing, etc. I'm posting these advertisements with the caveat that our school and school board have no affiliation with these groups/organizations. The following programs sound like great opportunities, but always remember to get parental consent if you are under 18 years of age before you register or participate in programs or workshops, and consider going with a parent/guardian or a group of friends.*
Writing Workshops
To kick off the Take Flight & Write Teen Writing contest, Burlington Public library will be hosting three writing workshops. Registration required. Space is limited. Call 905-639-3611 X125.
Short Stories Workshop
Facilitated by Short Story judge Lynda Wilson
Date: Thursday April 15th 7-8:30pm
Location: Programming Room, 2nd floor, Central Library
Poetry Workshop
Facilitated by Short Story judge Gary Barwin
Date: Thursday April 29th 7-8:30pm
Location: Builders Room, 2nd floor, Central Library
==============================
The Humber School for Writers
Correspondence Program in Creative Writing
Starts May 2010
The Correspondence Program in Creative Writing, offered by The Humber School for Writers, gives aspiring writers the rare opportunity to work on a novel, book of short stories, volume of poetry, or piece of creative non-fiction with one of the School’s distinguished faculty. Students receive extensive feedback via either regular or electronic correspondence and learn to refine their craft. Students may also share their experience in a closed web lounge. This 30-week program is specifically designed for those who prefer working at their own pace and in their own environment. More details at http://creativeandperformingarts.humber.ca/content/writers_correspondence.html
==============================
Weekly Writers’ Workshop at U of T
Fridays at 6 PM
Hart House, University of Toronto’s St. George Campus
Critique, discussion, creation and marketing of original poetry and prose. Workshop features guest authors and is involved in literary events and publications. Free. Email: uoftwritersco-op@hotmail.com
==============================
Reading out loud at CJ’s Café
Wednesday, April 7, 6:30 p.m.
CJ’s Café in Bronte, 2416 Lakeshore Road West, Oakville
Participants in the Intermediate Creative Writing course will be reading aloud from their work. Come and be blown away! The cafe will have a line-up of the most amazing emerging writers west of Toronto, and they’ll be reading some of the best work you’ll hear this year. Don’t miss it! Meanwhile, be sure to check out all the other great stuff going on at CJ’s, home of the best lattes in North America: http://www.cjscafeinbronte.com/
==================================================
ROYAL ONTARIO MUSEUM (ROM):
=============================
ART GALLERY OF ONTARIO (AGO):
=============================
SHAW FESTIVAL:
=============================
STRATFORD FESTIVAL:
=============================
Royal Botannical Gardens (RBG):
=============================
SHAKESPEARE - LINKS
 William Shakespeare, a.k.a, 'the Bard'.Shakespeare:
Shakespeare Timeline:
Shakespeare - the Complete Works:
Shakespeare Online:
Shakespeare's Houses:
A Midsummer Night's Dream:
Madden's 1998 Shakespeare In Love:
Romeo & Juliet on Film:
I. Zeffirelli version - 1968
II. Baz Luhrmann version - 1996
 First Edition Cover.TO KILL A MOCKINGBIRD* - LINKS
*Important information for the context and study of Harper Lee's To Kill a Mockingbird:
The significance of the following cases:
-Plessy vs. Ferguson
- Brown vs. Board of Education
(The Supreme Court case, Brown v. Board of Education of Topeka, Kansas, deemed segregation unconstitutional, overthrowing the 1896 Plessy v. Ferguson ruling that set the “separate but equal” precedent.)
The significance of the following individuals:
-Rosa Parks
-Dr. Martin Luther King Jr.
The difference between:
**NOTE: Please refer to in-class notes, handouts and overheads for additional information **
 Helen Keller
THE MIRACLE WORKER - LINKS
 The Original Movie Poster for 'My Left Foot' Starring Daniel Day Lewis.MY LEFT FOOT - LINKS
POETRY - LINKS
SHORT STORY UNIT - LINKS
Plotline Diagram:
Short Story - Close Analysis:
These are good examples of questions you should ask yourself when
doing a 'close reading' of a short story.
 The Columbian Coat of ArmsColumbian Author, Hernando Tellez' Short Story, "Lather and Nothing Else":
Pre-Reading, Reading and Post-Reading Strategies:
Look for: Suspense; Foreshadowing; Perspective; Narrative technique.
Elements of the Short Story:
1. Characters: Protagonist, Antagonist.
2. Setting.
3. Theme.
4. Plot: Motivation, Conflict, Complication, Suspense, Climax, Denoument, Resolution (Conclusion).
5. Types of Conflict:
Person vs Person
Person vs him/herself
Person vs Society
Person vs Nature
Person vs Technolgoy
Person vs the Supernatural
Literary Terms: (*Study these terms and definitions (see the handout from class) as they will appear on your Short Story Unit Test and possibly on your final Exam*)
Protagonist, Antagonist, Setting, Theme, Conflict, Types of Conflict (6 Types), Introduction, Initial Incident, Rising Action, Climax, Falling Action, Resolution/Conclusion, Suspense, Foreshadowing, Irony, Metaphor, Simile, Alliteration, Point of View, Characterization, Narration, Limited Dialogue, Descriptive Language, Tragic Flaw, Catharsis, Diction.
Film Analysis: About a Boy, based on the Novel by Nick Hornby:
We will watch the film About a Boy in class and complete the following assignments:
1. Character Analysis (we will complete one character web for each of the following characters: MARCUS and WILL).
2. Identify and explain the 5 types of conflict depicted in the film:
person vs person, person vs self, person vs society, person vs nature, person vs technology.
3. Journal Reponse:
Writing prompt: "If I were asked to give advice about life or fitting in, to a young adult, I would say...................because..."
4. Theme Poster: "Fitting In"
You must include: words, images, colour or black and white, consider placement, impact, and your use of symbols to convey meaning. Include a paragraph in which you describe the message of your poster and explain your choice of words, images, symbols and slogans to relay the message.
Assessment & Evaluation Information:
Knowledge/Understanding (/5 marks)
Thinking/Inquiry (/5 marks)
Communication (/5 marks)
Application (/5 marks)
Total: /20 Marks.
About a Boy Web Links:
The Original Movie Website:
Wikipedia:
IMDB:
Penguin Books Link, including other books by Nick Hornby:
Nick Hornby's books:
GUIDE TO GRAMMAR AND WRITING:
OSSLT - The Grade 10 Literacy Test:
PRACTISING FOR THE LITERACY TEST
THE WRITING TASKS
These tasks fall into 4 categories:
Task: |
Definition |
Hints |
SUMMARY |
A concise version of the original text. The test will specify an approximate number of words.
|
Plan your work Leave out non-essential info Reduce number of examples |
PARAGRAPHS EXPRESSING AN OPINION |
An introductory paragraph, body paragraph(s), and a concluding paragraph. |
Clearly present your opinion in the introductory paragraph Follow "hamburger" structure Make clear all division between paragraphs. |
NEWS REPORT |
An objective and factual report about an event. |
Do not include factual opinion Report should address the questions: who, what, where, when, why, how. Divide your report into short paragraphs appropriately. Consider making up quotations from bystanders/participants for your report. |
INFORMATION PARAGRAPH |
An objective presentation of facts and information |
Look for links between points; this link will become the "aspect" of the topic and thus the focus of the information paragraph. Paragraph requires a topic sentence, a min of 4 supporting points and a concluding sentence. |
All writing tasks must be completed in full sentences.
The intended audience is always adult; this indicates that slang and street language should not be used.
Follow instructions carefully (i.e. asked for 3 paragraphs, write 3 paragraphs).
Paragraph divisions must be obvious (either a large indentation or a blank line)
The space provided for written work indicates the approximate length of the writing required (adjust handwriting size accordingly)
If they can't read it, they can't mark it.
THE READING QUESTIONS
Reading questions fall into two categories: multiple choice and written answers.
Note that questions left blank by students are considered incorrect.
The following are key terms used repeatedly in the reading questions:
Key Terms |
Example |
Hints for writing test |
IDENTIFY |
Identify one detail of the Agawa Canyon scenery you think would inspire a painter or photographer |
Looking for a cause, result, or fact. A single word or phrase is usually sufficient |
COPY |
Copy a word form the reading selection that suggests King's mother treated her guests well |
Verbatim " Quotation marks" |
EXPLAIN |
Carter and Rodney's mother want her sons to have "a taste of nature". Explain why she might feel this way |
Try to use the word because in your answer |
Rhetorical Devices**
A rhetorical device is a technique of using language that will increase the persuasiveness of a piece of writing.
A Few Examples:
Alliteration, Assonance, Emotive Language, Irony, Onomatopoeia, Oxymoron, Paradox, Personification, Pun, Sound Patterns, Repetition, Hyperbole, Metaphor, Simile
**Note: For additional help, please consult your notes & handouts from our Short Story & Poetry Units (grades 9 & 10).
Tool Kit for Rhetorical Analysis
Brief definitions of 130 figures of speech and other rhetorical terms with links to expanded discussions and examples.
Coyness: a form of irony in which a person feigns a lack of interest in something that he or she actually desires.
Figure of speech in which a speaker or a writer gathers scattered points and lists them together.
Extending a metaphor so that objects, persons, and actions in a text are equated with meanings that lie outside the text.
Repetition of initial consonant sound.
A brief, usually indirect reference to a person, place, or event--real or fictional.
The presence of two or more possible meanings in any passage.
General term for all of the ways that an argument, an explanation, or a description can be expanded and enriched.
Repetition of the last word of one line or clause to begin the next.
Reasoning or arguing from parallel cases.
Repetition of the same word or phrase at the beginning of successive clauses or verses.
General name for argumentative strategies whereby a speaker or writer foresees and replies to objections.
An abrupt shift from a noble tone to a less exalted one--often for comic effect.
Rejecting an argument because of its insignificance, error, or wickedness.
Juxtaposition of contrasting ideas in balanced phrases.
Substitution of a title, epithet, or descriptive phrase for a proper name (or of a personal name for a common name) to designate a member of a group or class.
(1) A tersely phrased statement of a truth or opinion. (2) A brief statement of a principle.
The expression of real or simulated doubt or perplexity.
An unfinished thought or broken sentence.
(1) Mark of punctuation used to indicate possessive case or omission of a letter. (2) Rhetorical term for breaking off discourse to address some absent person or thing.
Placing side-by-side two coordinate elements, the second of which serves as an explanation or modification of the first.
The parts of a speech or the structure of a text.
Identity or similarity in sound between internal vowels in neighboring words.
Omission of conjunctions between words, phrases, or clauses (opposite of "polysyndeton").
A gradual increase in intensity of meaning with words arranged in ascending order of force or importance.
A litany of abuse--a series of critical epithets, descriptions, or attributes.
An adverbial construction used to support a claim or express a viewpoint more assertively and convincingly.
Direct exposure of an adversary's faults.
A verbal pattern in which the second half of an expression is balanced against the first but with the parts reversed.
A sarcastic reply that mocks an opponent, leaving him or her without an answer.
Mounting by degrees through words or sentences of increasing weight and in parallel construction with an emphasis on the high point or culmination of a series of events.
Any statement or bit of knowledge that is commonly shared among a given audience or a community.
Repetition of a point several times in different words.
The main part of a speech or text in which logical arguments in support of a position are elaborated.
Argumentative strategy by which a speaker or writer concedes a disputed point or leaves a disputed point to the audience or reader to decide.
The emotional implications and associations that a word may carry.
Expansive richness as a stylistic goal.
Verbal bit or fragment used as an autonomous unit without transitional devices.
A method of reasoning in which a conclusion follows necessarily from the stated premises.
Dissuasive advice given with authority.
Speech or writing that attempts to persuade an audience to take (or not to take) some action.
One of the five traditional parts or canons of rhetoric, concerned with control of voice and gestures.
See epideictic: persuasion that deals with values that bring a group together; the rhetoric of ceremony, commemoration, declamation, demonstration, play, and display.
The direct or dictionary meaning of a word, in contrast to its figurative or associated meanings.
Repetition broken up by one or more intervening words.
Recommending useful precepts or advice to someone else.
Explicit references to various meanings of a word--usually for the purpose of removing ambiguities.
Substitution of a more offensive or disparaging word or phrase for one considered less offensive.
Personal description; a head-to-toe inventory of a person's physical attributes or charms.
Omission of one or more words, which must be supplied by the listener or reader.
Tribute or eulogy in prose or verse glorifying people, objects, ideas, or events.
An informally stated syllogism with an implied premise.
Repetition at the end of a clause or sentence of the word or phrase with which it began.
Circumstance in which a speaker quotes a passage and comments on it.
Speech or writing that praises or blames.
Frequent repetition of a phrase or question; dwelling on a point.
Repetition of a word or phrase at the end of several clauses.
Asking questions to reproach rather than to elicit answers.
Using an appropriate adjective (often habitually) to characterize a person or thing.
Repetition of a word for emphasis (usually with no words in between).
A rhetorical question implying strong affirmation or denial.
Putting oneself in place of another so as to both understand and express his or her feelings more vividly.
Persuasive appeal based on the projected character of the speaker or narrator.
Substitution of an inoffensive term for one considered offensively explicit.
Elaborately patterned prose style
Facts, documentation, or testimony used to strengthen a claim or reach a conclusion.
The introductory part of an argument in which a speaker or writer establishes credibility (ethos) and announces the subject and purpose of the discourse.
Emotional utterance that seeks to move hearers to a like feeling.
A short narrative meant to teach a moral lesson.
The various uses of language that depart from customary construction, order, or significance.
A rhetorical term for a sentence construction in which the last word of one clause becomes the first of the next, through three or more clauses.
An extravagant statement; the use of exaggerated terms for the purpose of emphasis or heightened effect.
Raising questions and answering them.
An arrangement of phrases or clauses in a dependent or subordinate relationship.
Any of the wide variety of means by which an author may establish a shared sense of values, attitudes, and interests with his or her readers.
Method of reasoning by which a rhetor collects a number of instances and forms a generalization that is meant to apply to all instances.
Denunciatory or abusive language; discourse that casts blame on somebody or something.
The discovery of the resources for persuasion inherent in any given rhetorical problem.
Use of words to convey the opposite of their literal meaning. A statement or situation where the meaning is directly contradicted by the appearance or presentation of the idea.
A succession of phrases of approximately equal length and corresponding structure.
Speech or writing that considers the justice or injustice of a certain charge or accusation.
The opportune time and/or place, the right time to say or do the right thing.
A figure of speech consisting of an understatement in which an affirmative is expressed by negating its opposite.
In classical rhetoric, the means of persuasion by demonstration of the truth, real or apparent.
To belittle, use a degrading epithet, often through a trope of one word; rhetorical understatement.
One of the traditional five parts or canons of rhetoric, that which considers methods and devices to aid and improve the memory.
An implied comparison between two unlike things that actually have something important in common.
A figure of speech in which one word or phrase is substituted for another with which it is closely associated (such as "crown" for "royalty").
The part of an argument in which a speaker or writer provides a narrative account of what has happened and explains the nature of the case.
The formation or use of words that imitate the sounds associated with the objects or actions they refer to.
A figure of speech in which incongruous or contradictory terms appear side by side.
A short and simple story that illustrates a lesson.
A statement that appears to contradict itself.
Emphasizing a point by seeming to pass over it. See apophasis.
Similarity of structure in a pair or series of related words, phrases, or clauses.
Phrases or clauses arranged independently: a coordinate, rather than a subordinate, construction.
(1) Either or both of the upright curved lines, ( ), used to mark off explanatory or qualifying remarks in writing. (2) The insertion of a verbal unit that interrupts the normal flow of the sentence.
The means of persuasion in classical rhetoric that appeals to the audience's emotions.
Long and frequently involved sentence, marked by suspended syntax, in which the sense is not completed until the final word--usually with an emphatic climax.
The closing part of an argument.
Voice or mask that an author or speaker or performer puts on for a particular purpose.
A figure of speech in which an inanimate object or abstraction is endowed with human qualities or abilities.
Repetition of a word with a new or specified sense, or with pregnant reference to its special significance.
Repetition of words derived from the same root but with different endings.
A style that employs a great many conjunctions (opposite of "asyndeton").
(1) Foreseeing and forestalling objections in various ways. (2) Figurative device by which a future event is presumed to have already occurred.
Short, pithy statement of a general truth, one that condenses common experience into memorable form.
A play on words, sometimes on different senses of the same word and sometimes on the similar sense or sound of different words.
The part of an argument wherein a speaker or writer anticipates and counters opposing points of view.
(1) A speaker or writer. (2) A teacher of rhetoric.
The study and practice of effective communication.
In classical rhetoric, the five overlapping offices or divisions of the rhetorical process.
A question asked merely for effect with no answer expected.
The context of a rhetorical act; minimally, made up of a rhetor, an issue, and an audience.
Sentence style that appears to follow the mind as it worries a problem through.
A list of three or more items, usually arranged in parallel form.
A stated comparison (usually formed with "like" or "as") between two fundamentally dissimilar things that have certain qualities in common.
The rehearsed spontaneity, the studied carelessness, the well-practiced naturalness that lies at the center of convincing discourse of any sort.
Narrowly interpreted as those figures that ornament speech or writing; broadly, as representing a manifestation of the person speaking or writing.
A form of deductive reasoning consisting of a major premise, a minor premise, and a conclusion.
A figure of speech is which a part is used to represent the whole, the whole for a part, the specific for the general, the general for the specific, or the material for the thing made from it.
Undignified language that debases a person or thing.
The underlying idea or the principal subject that is the meaning of a metaphor.
A person's account of an event or state of affairs.
A series of four members.
Series of three parallel words, phrases, or clauses.
Rhetorical device that produces a shift in the meaning of words--traditionally contrasted with a scheme, which changes only the shape of a phrase.
Figure of speech in which a writer deliberately makes a situation seem less important or serious than it is.
In a metaphor, the figure itself. A metaphor carries two ideas: the vehicle and the tenor, or underlying idea.
The quality of a verb that indicates whether its subject acts (active voice) or is acted upon (passive voice).
Use of a word to modify or govern two or more words although its use may be grammatically or logically correct with only one.
| 